GoneTrending

With three teams competing for playoff positioning and two teams potentially jockeying for ping-pong balls, the Southwest Division projects to be quite interesting in 2022-23. At the top, the Dallas Mavericks aim to recreate the magic of a Western Conference Finals run, with the Memphis Grizzlies looking to repeat as division champions and the New Orleans Pelicans seeking to rekindle an encouraging second-half performance a season ago.

Each of the division’s five teams has questions to answer and, in this space, we’ll shed light on one particular question that could be pivotal for the present and future.

Dallas Mavericks: What’s the plan without Jalen Brunson?

Much has been made of Jalen Brunson’s exit from Dallas, including a tampering investigation centering on his transition to New York. What’s done is done, though, and the Mavericks must proceed without the team’s No. 2 offensive option from last season. On paper, the Mavericks can simply lean even further into the Luka Doncic experience, which isn’t a bad option for a potential MVP candidate. Still, Doncic can’t play every game and every minute, and the Mavericks are short on shot creation.

Dallas does have Spencer Dinwiddie, who should have the first crack at keeping the offense afloat without Doncic on the floor or as a second-side creator. Still, Dinwiddie has battled injury issues and inconsistency in recent seasons and, simply put, the Mavericks have virtually nothing else in the way of shot creators on the roster. Dallas does have quality play finishers, both up front with Christian Wood and JaVale McGee, and on the perimeter with Tim Hardaway Jr., Dorian Finney-Smith, and Reggie Bullock. Somebody has to set those guys up, however, and the first time Doncic or Dinwiddie is unable to play could be revealing.

Houston Rockets: What do Jalen Green and Jabari Smith Jr. look like?

The Rockets don’t project as a playoff threat, especially when considering the team’s 20-win performance a year ago. At the same time, Houston does have a great deal of talent, and everything is future-facing around this organization. Depth of talent is a potential strength, including pieces like Tari Eason, KJ Martin, TyTy Washington, and Alperen Sengun. With that said, Jalen Green and Jabari Smith Jr. are the team’s headline-grabbing players, and this is a big year of evaluation for both.

Green enjoyed a solid rookie season, averaging 17.3 points per game with approximately league-average true shooting at the age of 19. As most rookies can attest, Green hit some roadblocks, but he also averaged 22.1 points and shot 38.7 percent from three-point range after the All-Star break. His ceiling is quite high on the offensive end, and it will be interesting to see if a leap is coming. Smith has a bit less pressure in year one, simply because rookies often struggle and he slipped to No. 3 in the Draft, but the pairing with Green is the basis of Houston’s current plan for the future. Smith isn’t the type of prospect that is likely to dominate the ball or put up gaudy numbers early, but if he shows signs, the Rockets will be in good shape.

Memphis Grizzlies: Can Ziaire Williams take the next step?

One of the uncertainties with the Grizzlies is how Memphis will replace the contributions of De’Anthony Melton and Kyle Anderson. Neither is a high-profile piece, but Memphis replaced veterans with rookies, and that is sometimes a jarring realization for a competitive team. Mixing the two together is Ziaire Williams, who returns for year two with real confidence.

Williams was drafted as a long-term project after struggles at Stanford, and he struggled at times as a rookie. However, Williams eventually made 31 starts in the regular season and played acceptable rotation minutes as a 19-year-old in a playoff environment. His role was small in that context, but Williams has a lot of talent and there is room for him to grow into a larger role. Memphis has enjoyed big-time prosperity with draft picks recently, and he might be the next success story in the line.

New Orleans Pelicans: How does the late-season renaissance pair with Zion Williamson’s return?

The Pelicans went 36-46 last season. On paper, that isn’t anything to be terribly excited about. However, New Orleans posted a 33-30 mark in the final 63 games, made it out of the Play-In, and took the Phoenix Suns to the brink in the first round. Some of that coincided with the addition of CJ McCollum as a steady veteran with shot creation equity, but the Pelicans had already begun to coalesce around Brandon Ingram, and New Orleans found an absolute gem in Herb Jones.

As the 2022-23 season approaches, the Pelicans now have a fantastic “problem,” and it comes with how to reintegrate Zion Williamson, who missed the entire 2021-22 season. He announced his presence with authority in 2020-21, averaging 27 points per game and shooting more than 60 percent from the field. Williamson is a generational talent, but he also shifts some roles around for New Orleans, and it will be interesting to see how Willie Green and the staff are able to shuffle things around his skill set after navigating the world without him a year ago.

San Antonio Spurs: Who creates shots offensively?

Dejounte Murray enjoyed a full-fledged breakout last season, averaging 21.1 points, 9.2 assists, and 8.3 rebounds per game on the way to an All-Star appearance. That emergence earned Murray a lot of recognition and also a ticket out of town to Atlanta, with the Spurs pivoting into a full-blown rebuild effort. That is likely the right move from a future standpoint, as Murray does not profile as the No. 1 on a great team, but San Antonio is left with a mismatched roster that presents some challenges.

San Antonio does have intriguing young talent, especially with Devin Vassell and Keldon Johnson. The Spurs do not have a player on the current roster that profiles as a No. 1 (or even a No. 2) scoring option, though, and Tre Jones is the incumbent offensive engine at the point guard spot. On the right night, the Spurs might be quite frisky, particularly with Gregg Popovich at the helm and a bunch of quality supporting players on the floor. It is still challenging to see how San Antonio is going to create high-quality offensive looks on a regular basis, and part of that comes from the lack of individual shot creation on paper.

Tove Lo, the moniker of Swedish pop star ​​Ebba Tove Elsa Nilsson, has returned with Dirt Femme, after four years between it and the release of its predecessor, Sunshine Kitty. For her devoted and large fan base, the wait was agonizing, but to hear Tove explain it, the album couldn’t exist as it does now — a blend of hedonistic self-love pop bangers and heart-on-sleeve, amazingly brave confessionals — if she hadn’t taken the time to chisel away at it like a sculptor does to their marble.

The album is a cinematic telling of fairy tales and nightmares, experiences real and imagined (and in some case, dreamt) and translated into the infectious, radiant pop that Tove Lo has become celebrated for. Dirt Femme opener and pre-release single “No One Dies From Love” plays with neon-streaked synths and a festival stage-ready chorus drenched in autotune that gives the song an undeniable emotional heft. Tove sings, “No one dies from love / Guess I’ll be the first / Will you remember us? / Or are the memories too stained with blood now?” In the world of Tove Lo, taking this as a direct retelling of a personal event may be a fool’s errand, as she explains to Uproxx. “The songs on the record that are real heartbreak songs inspired by things like me having a dream about my husband cheating on me or leaving me or something,” she says. As such, they’re less re-creations of events than a way for Tove to figure out why her subconscious operates the way it does, and how that can apply to her listeners and fans generally.

There are moments, though, that Tove has lived through specifically and is now able to write upon after years of working through the associated trauma. “Grapefruit,” the emotional core of the album, finds the artist singing unflinchingly about her struggles as a younger woman with an eating disorder, recalling counting calories and choking on her “hands all night in my sleep.” It’s a brave, powerful, and graceful moment from Tove, but one that only came after years of reflection. It serves as this album’s philosophy in practice, that triumph takes time, patience, and a helluva lot of work.

Four years, especially in the modern music industry, is a very long time between albums. Were you nervous at all about returning after all that time?

I was just paying attention and saying, “Okay, where is pop culture and the world that I am moving in, where is it going?” I want to follow that, but I also want to veer off in my own lane and I had to ask how I do that in a way that connects but still feels unique and true to me. The number one way I connect with my fans is through the songs that I write, but after two years inside and so long since my last album, they also want to know a little more about where I’ve been personally. This album reflects that.

I’m so used to making this curated world that is focused on sharing my art as a musician. But then I also wanted to show my personality, what I’m like what I’m at home just being an idiot. I felt more in touch with my fans and it’s just another part of me that is now present in the music. Tove told a story to Uproxx about sharing “Grapefruit” with her collaborator Tim Nelson. Tove says that he told her, “I’m sorry, but I don’t really listen to lyrics that often, but is this about you? Is this about your feelings? Are you okay?” Tove had to explain the backstory, and even then, he was shocked by what she had gone through, how unfazed she was by it in her retelling on the track. She responded, “Yeah, it’s because of all the work I’ve done, all the therapy.”

I think a lot of the record reflects that, there are obviously the glossy, shiny, really fun pop songs, but then there are really gritty moments too. Was that something that took you a while to stumble upon in the studio or did you come into the process thinking about that balance?

Because I had more time to write this record, I could experiment and try new things and go in a direction that maybe wasn’t what I would initially do. This album is my best one yet — though maybe I say that every time — because for the first time since my first album, I had proper time to write it and make it exactly how I wanted. I was able to rewrite and live with the songs, go back and change things and explore new worlds, methodically and sonically. I feel like with “Grapefruit,” it was so important that the rawness of emotion was there. We recorded it so many times but kept my original vocal track. That was a luxury I probably couldn’t afford on previous records due to time.

Did it take more out of you to get to that place where you were comfortable sharing a song as vulnerable as “Grapefruit?”

My music is my most honest place and somehow I just have never touched on this. I feel like I’ve mentioned it in passing, how I used to hate my body as a teenager so it’s really amazing to love it now, but that’s as far as I’ve gone. I just needed long enough to be free from that disease to be able to write about it, and now it’s been 10 years of me being healthy.

Sometimes I get so mad at my younger self for putting myself through that during such crucial years of my life, because it just taints everything. What finally became this trigger was when I shot a movie in Sweden I had to lose some weight for the role. It wasn’t anything crazy, but I had to lose a lot of weight in a short time. I went on a diet for the first time in 10 years, a crazy diet. It just brought me straight back into those feelings that I hadn’t felt in a really long time.

I lost the weight, I did the movie, and then I went back to my regular place, my body just kind of adjusting back. Being able to do it made me think, “Oh my god, I am good. I could go through that and not fall back into old behavior.” That’s such a win on my end, and so I think that also sparked the need to write about it.

It’s obviously an anthem that I think a lot of your younger fans can find inspiration and hope in.

I hope so.

There are a lot of cinematic references in this record. Do you generally look to other sorts of art for inspiration for your songs or was this directly inspired by being inside for so long while writing?

I feel like it’s probably the latter, though I do get a lot of inspiration from art, books, and movies. I guess the best way to phrase it is that I write about myself, but I picture these stories cinematically in my head. The songs on the record that are real heartbreak songs are all inspired by things like me having a dream about my husband cheating on me or leaving me or something, then I wake up and I’m mad at him. It’s not logical, but that’s just the emotional person I am. Then I write a song about it and that’s how I deal with it, almost as if it’s a movie.

But I think there are also actual movies playing out in this record, of course. That is a product of being locked inside and watching a lot of things. By that same token, the reason why a lot of it’s so dancey is because I was just so missing the dance floor as well. It’s interesting looking at all the records and I’m like, “That’s when I was going through that, that’s when I was going through that,” and it’s just the storyline of my emotional life.

Lastly, how would you define the album title, Dirt Femme, if someone came up to you on the street and asked what it was about?

I would say that Dirt Femme is how I identify, and it’s explaining my relationship with my femininity and how it’s helped and hurt me. This album means a lot to me, because I’m showing the whole human. It can be quite contradicting at times, but that’s how human beings are. What else would I say? That it’s the best album ever, and you should listen to it.

Dirt Femme is out now via Pretty Swede Records. Get it here.

The Los Angeles Lakers struggled mightily to hit shots in their 123-109 loss to the Golden State Warriors on Tuesday night. Particularly, Los Angeles went 10-for-40 from behind the three-point line, with LeBron James (3-for-11) and Kendrick Nunn (3-for-6) connecting on more than one triple. Despite getting a number of good looks, the Lakers just could not punish the defending champions.

This probably should not be a huge surprise, as the team’s roster doesn’t exactly have a ton of guys who are known for their ability to consistently hit threes even though conventional wisdom says those are the sorts of dudes you want alongside James. And after the game, the former league MVP discussed how the Lakers are assembled, and bluntly stated that shooting is not one of their strengths.

“I think we’re getting great looks, I think it also could be teams giving us great looks,” James said. “To be completely honest, we’re not a team that’s constructed of great shooting, and that’s just what the truth of the matter is. It’s not like we’re sitting here with a lot of lasers on our team, but that doesn’t deter us from still trying to get great shots. When you get those opportunities, you take them, but we’re not sitting here with a bunch of 40-plus career three-point shooting guys.”

Last season, the Lakers connected on 34.7 percent of their attempts from behind the three-point line, the 22nd-best mark in the league.

Billie Eilish is returning to her hometown of Los Angeles for two newly-announced encore performances of her Happier Than Ever, The World Tour. Earlier this year, she embarked on a world tour in support of her 2021 sophomore album, Happier Than Ever, kicking things off in New Orleans in February. She will be playing two nights at the Kia Forum on December 15 and 16 to close the chapter of this tour… and potentially, the entire album era.

“LA i am so excited to see you one last time for the year!!! playing two extra final shows for you at the forum!!!” Eilish shared the announcement on Instagram. She wrapped the Australia and New Zealand leg of the global tour last month, giving her a short break before giving a proper farewell in December.

Throughout Eilish’s massive tour, she released a small EP titled Guitar Songs in July, which featured acoustic tracks “TV” and “The 30th” — both of which she’s begun incorporating into the live show setlists.

Presale for Eilish’s two nights at the Kia Forum begins for those registered with Ticketmaster’s Verified Fan Program on October 25. General on-sale opens to the public the day after, on October 26. More information about how to purchase tickets is available here.

Ever since WandaVision dropped in the middle of surging pandemic numbers, creating the perfect atmosphere for Marvel fans to concoct absolutely wild theories, speculating about Mephisto‘s presence in the MCU has never once stopped. People were seriously convinced they spotted him in a Spider-Man: No Way Home poster, and it got to the point where the director of Loki had to come right out and say he’s not in that show either, please calm down.

However, it looks like those theories could be coming to an end. Marvel is reportedly pulling the trigger on bringing the comic book devil into the MCU, and they may have found one hell of an actor for the part: Sacha Baron Cohen. The Borat star will reportedly appear in the Disney+ series for Ironheart, who’s set to make her MCU debut in Black Panther: Wakanda Forever.

Via Deadline:

A source close to the production confirmed to Deadline that there is talk on the set about Cohen being part of Ironheart, likely playing Mephisto. He also has been spotted at the Marvel facilities located at UK’s Pinewood Studios. Reps for Marvel and Cohen have refused to comment on any Cohen involvement in Ironheart or the larger MCU.

As Deadline reports, Cohen’s Mephisto will appear in multiple projects “like with any major Marvel characters.” More specifically, Cohen is rumored to appear in the upcoming WandaVision spinoff centered on Kathryn Hahn’s Agatha. That series is now named Agatha: Coven of Chaos after being previously announced as Agatha: House of Harkness. If true, seeing Hahn and Cohen chew scenery together is already devil magic in our book.

(Via Deadline)

If you type “Jeffrey Dahmer” into Google, one of the first suggested results is “Jeffrey Dahmer costume.” Due to the popularity of Netflix’s Dahmer series, there will be plenty of people who think it’s clever and funny to dress up as one of America’s notorious serial killers, someone who murdered seventeen people, for Halloween this year. But those edgelords won’t be able to find their Dahmer costume on eBay.

BuzzFeed News reports that eBay has “banned the sale of costumes inspired by the serial killer Jeffrey Dahmer in the run-up to Halloween, for violating its policy on violence and violent criminals.” The online auction site is “actively removing these listings.”

Items that have been posted on eBay include an orange jumpsuit with a face mask based on actor Evan Peters’ portrayal of Dahmer in the Netflix series Monster: The Jeffrey Dahmer Story, and glasses that resemble the ones worn by Dahmer.

As of publication, there are only two results for “dahmer costume” on eBay: glasses and a wig. Amazon has more options, although nothing with Evan Peters-as-Jeffrey Dahmer’s face, but why spend $16.95 on a Hot Topic circa 2002-era “If You Can’t Beat ‘Em, Eat ‘Em” shirt when you can get a complete “The Hangover Alan Deluxe Costume Set” for $64.95? Or better yet, go as Matthew Berry saying “New York City” on What We Do in the Shadows. That’s something everyone can enjoy.

(Via BuzzFeed News)

James Corden may be all smiles and laughs and Carpool Karaoke on TV, but mess with his breakfast and you might discover what New York City restaurateur Keith McNally has now infamously described as an “abusive… tiny cretin of a man.” While both The Late Late Show host and the owner of longtime SoHo hotspot Balthazar have apparently expressed regret over the eggsplosive incident (oh yes, we did!) and patched things up, and other restaurant owners have come to Corden’s defense, the internet has a long memory. And the idea of Corden acting like a sh*tbag reminded some people of a 2017 story that circulated in which the TV personality was accused of being a jerk to his wife, TV producer Julia Carey, and their then-infant child.

The story goes that approximately 30 minutes into a London-bound flight from New York City, a woman with a screaming baby was ushered into business class and seated next to Corden, who didn’t say a word. Instead, he purportedly just put on his headphones to drown out the sound of the child’s screams and went to sleep.

While Corden’s fellow passengers were surprised and impressed that the celebrity didn’t complain about the close quarters or wailing child, they were even more surprised when, while deplaning in London, the clearly frazzled mom finally just handed the kid to Corden while she struggled to free her bags from the overhead luggage compartment and yelled, “For f**k’s sake, can you at least hold the baby while I get the bags down?”

The moral of the story is that it’s possible James Corden is just a jerk — or maybe the airlines screwed up Carey’s all-yolk omelette.

As she promised upon the release of her comeback single, “Washed Away,” Kelela is back with a banger. On her latest single, “Happy Ending,” Kelela dances the night away over a lush, fast-paced beat.

“We’re too far away / I’m reading all the writings on the wall / And if you don’t run away / Could be a happy ending after all /It’s deeper than fantasy,” she sings, delivering her soft, wispy vocals, slipping the listeners into a sensual club dream.

In the song’s video, Kelela is dressed in futuristic, neon, attire, as clips from the New York City underground ballroom scene play throughout the video.

Kelela is set to release her sophomore album soon, five years after the release of her debut album, Take Me Apart. In a recent interview with Dazed, Kelela said that she wants for her visuals and music, which often comprise Afrofuturistic aesthetics, to empower her Black audience.

“We are building our relationship with visual and narrative signifiers through these images,” Kelela said. “For me, the end result is creating images that make Black people feel like we are actually this big! That we are worthy, and this is how large and expansive it can get. This feeling of expansiveness is what I’m trying to give my people, and that’s what is at the center of all of this for me. I’ve never really named that framework in that way. But I think it’s an ethic I’ve been really striving for this whole time.”

Check out the video for ‘Happy Ending’ above.

Indie music has grown to include so much. It’s not just music that is released on independent labels but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week we got new music from Field Medic, Wild Pink, Blink-182, and more.

While we’re at it, sign up for our newsletter to get the best new indie music delivered directly to your inbox, every Monday.

Field Medic — Grow Your Hair Long If You’re Wanting To See Something That You Can Change

Field Medic’s new album with a very long (but beautiful) title was first previewed with the attention-grabbing lead single, “I Had A Dream That You Died,” which proved that he could hold humor and pain in the same hand by reckoning with feelings of despair while still providing levity: “I feel like a chia pet / The way my hair looks dumb / And my heart is made of stone.” The rest of the album dives deeper into the gloom but Kevin Patrick Sullivan has mastered the art of making the listener feel seen and comforted instead of burdened.

Enumclaw — Save The Baby

Washington’s Enumclaw proved themselves last year with the ridiculously infectious EP Jimbo Demo which showcased their knack for groovy basslines and nonchalant vocals that exude a feeling of effortless coolness. Save The Baby immediately kicks off with both of those things on the title track, but the entire album has much more; it goes from being catchy to taking things slower, bringing the listener into moments of vulnerability that can be surprising and impactful.

The 1975 — Being Funny In A Foreign Language

The 1975’s singles were promising, like “Part Of The Band” — which contained the line, “I like my men like I like my coffee / Full of soy milk and so sweet / It won’t offend anybody” — and the exuberant “I’m In Love With You.” Being Funny In A Foreign Language has that irresistible groove that their music has always had — whether it was “Girls” on their debut or “Love Me” off their 2016 LP. They’re as consistent as possible and only getting funnier and more unhinged.

Wild Pink — ILYSM

Last year, Wild Pink swept the indie-folk community off their feet with A Billion Little Lights and they’re already back with a strong, new album called ILYSM. It’s light and tender, moving with delicacy and meaning. Every sound and line feels intentional and poignant; Wild Pink have a way of giving small, soft things a feeling of enormity.

Bill Callahan — Reality

Bill Callahan’s Reality is anything but background music. The 56-year-old indie-rock veteran takes his storytelling very seriously, packing his songs with poetic, striking characters and lines; he opens “Lily” by singing, “I started writing,” leaving space before the powerful next words: “your death song.” To make it even more visceral, he continues: “Long before you were gone.”

Modern Color — “Greener Grass”

California-based quartet Modern Color have a knack for dark, unsettling textures that especially shined through on their last album, 2020’s From The Leaves Of Your Garden. The new “Greener Grass” is a brooding, grungy track with off-kilter, distorted riffs and tired vocals, immersing the listener into a haunted four-minute journey.

Blink-182 — “Edging”

Considering the years of Blink-182 fans begging for the return of original vocalist and guitarist Tom Delonge, the stakes were high for this comeback. However, when they announced the new song title was “Edging,” that probably comforted people, proving to them that their childish humor is still intact. Aside from that, the track is anthemic and catchy, Delonge’s vocals are very distinctly Delonge’s vocals that we all missed, and it’s certainly better than the music they’ve released since Delonge left.

Runnner — “I Only Sing About Food”

Runnner is the indie-folk project of Noah Weinman who released the 2021 masterpiece Always Repeating, a stunning, memorable collection of songs that grappled with love, loss, and self instead of trying send any specific message. “I Only Sing About Food” comes from his forthcoming album Like Dying Stars, We’re Reaching Out. The opening line immediately shows the way he, like Field Medic, is able to weave together pain and humor in a magnetically disarming fashion: “I’m an idiot, I cried in your car / When I couldn’t find the words I was looking for / I overanalyze, I never let it feel good / I only think about death / I only sing about food.”

Black Belt Eagle Scout — “Don’t Give Up”

Black Belt Eagle Scout is the project of Katherine Paul. She had a track featured in the 2019 TV show Trinkets, an incredibly endearing series reckoning with the complexities of youth. This new Black Belt Eagle Scout song does the same, though it seems to focus more on growing up and learning and trying to find strength, especially in the enormity of nature: “The land, the water, the sky,” she repeats at the end, possessed by the endlessness.

Bleached — “Flip It”

LA punk duo Bleached like to have fun, which is why their hit “Think Of You,” from 2011, persists as a great, surfy anthem over a decade later. Their new track “Flip It” watches them only increasing the energy and relatable comedy: “Monday, woke up late / Tuesday, headache.” Their harmonizing vocals are hypnotizing, the riffs are invigorating, and the melody is addictive.

It’s (still) October, so that means that it’s a great time to talk about The Greatest Horror Villain who ever lived. They managed to top several other scary things about And Just Like That… on HBO Max, and of course, I’m talking about Che Diaz, who rattled the Internet, which got a little carried away with jump scare claims. This didn’t seem uncalled for, and yet, I actually ended up enjoying Che Diaz by the end of the first season because the show wrote them to be interesting (and not a safe representation of a non-binary character) and abrasive, and I actually wanted to know more about Che Diaz. I’m not sure that I’ve ever felt that way about any Sex and the City character in the franchise’s history.

I wasn’t alone in my (begrudging) enthusiasm, given that showrunner Michael Patrick King told Variety that “[o]ne of my burning passions about Season 2 is Che,” and King added, “I want to show the dimension of Che that people didn’t see, for whatever reason — because they were blinded, out of fear or terror.” From there, we’re receiving news that Che (who headed out to LA for a sitcom pilot with Miranda determining to join them) will now interact with their TV dad, and we’ve heard this name before because Che mentioned, “Tony Danza is coming in to read for my father. He’s not Mexican or Irish but he is Tony Danza.”

Deadline’s Nellie Andrea reports that, yep, Tony Danza heard the call, and he’s now onboard. In fact, he’ll play Che’s sitcom dad. Via Deadline:

In a meta casting, Tony Danza has been tapped for a recurring role in Season 2 of HBO Max’s And Just Like That…

Noone would comment but I hear Danza will play Che Diaz’s (Sara Ramirez) father in the sitcom they wrote about their family.

I’d actually very much enjoy if we learned that Tony Danza is actually Che Diaz’s real father, but we probably won’t get that lucky. It sounds like he’ll play some heightened version of himself, so that could be fun. I’m also looking forward to seeing another side of Che who isn’t merely a self-professed sex bomb with a flair for being praised for groan-inducing stand-up jokes. FWIW, actor Sara Ramirez, received lot of backlash for the role and seems alright with this, so bring on more shades of Che.

(Via Deadline)